Many consider the Act I prelude Wagner's greatest single composition, an inspiring free-variation curtain-raiser on one soaring theme starting and ending softly on divided violins in high register, then building to a mighty climax with full brass and two climactic cymbal crashes in a classic orchestral crescendo-diminuendo, gradually approaching the one climax and then just as gradually receding, to end as ethereally as it started in the high divided violins, and representing the descent of the Holy Grail (the cup out of which Christ legendarily drank out of in the Last Supper the night before his crucifixion) from Heaven back down to Earth. But I was fooling myself: no sooner had I stepped into the noonday bath than I was seized by such desire to write Lohengrin that, incapable of lingering in the bath for the prescribed hour, I leapt out after only a few minutes, scarcely took the time to clothe myself again properly, and ran like a madman to my quarters to put what was obsessing me on paper. In Augus… [30], Lohengrin was first performed as part of the Bayreuth Festival in 1894, in a production directed by the composer's widow, Cosima Wagner, with Willi Birrenkoven [de] and Ernst van Dyck, Emil Gerhäuser [de] alternating as Lohengrin, Lillian Nordica as Elsa, Marie Brema as Ortrud and Demeter Popovic as Telramund and was conducted by Felix Mottl. I struggled manfully against the temptation to set down the plan on paper. Telramund and Ortrud, banished from court, listen unhappily to the distant party-music. [33], La Scala produced the opera for the first time on 30 March 1873, with Campanini as Lohengrin, Gabrielle Krauss as Elsa, Philippine von Edelsberg as Ortrud, Victor Maurel as Friedrich, and Gian Pietro Milesi as Heinrich. There was however an 1881 French performance given as a Benefit, in the Cercle de la Méditerranée Salon at Nice, organized by Sophie Cruvelli, in which she took the role of Elsa. In 1913, the famous Moravian tenor Leo Slezak is reported to have missed hopping on the swan, afterwards turning to Elsa with the question: "Wann geht der nächste Schwan?" Lohengrin declares him the Duke of Brabant. Liszt chose the date in honour of Weimar's most famous citizen, Johann Wolfgang von Goethe, who was born on 28 August 1749. The god is in love with a human woman and approaches her in human form. The people consider Ortrud guilty of witchcraft. Coterminously, Wagner began work on a second-draft of the poem, beginning with act 3. Elsa comes forward, then the Knight. Elsa kneels and prays that God may send her champion to her. By late 1841, Wagner had conceived a five-act historical opera based on the Hohenstaufen dynasty entitled Die Sarazenin (The Saracen Woman)[3] and, although he lavished on it all the trappings of Grand Opera, his attention was soon distracted by a Volksbuch that he obtained through his friendship with the philologist Samuel Lehrs. As outlined to Heine, Wagner's plan was to build on the success of the premiere of Rienzi in Berlin on 24 October 1847 with a follow up performance of Lohengrin. The first production of Lohengrin was in Weimar, Germany, on 28 August 1850 at the Staatskapelle Weimar under the direction of Franz Liszt, a close friend and early supporter of Wagner. The second complete draft of act 2 was started on 18 June and complete on 2 August 1847. Having completed the second complete draft of act 3 ten months later on 5th March 1847, Wagner returned to the beginning of act 1 and began work on the second draft of act 1 on 12 May and which was complete on 8 June 1847. King Henry the Fowler has arrived in Brabant, where he has assembled the German tribes in order to expel the marauding Hungarians from his dominions. Performed in Italian, the production starred Jean de Reszke as the title hero, Emma Eames as Elsa and Édouard de Reszke as Heinrich. Night in the courtyard outside the cathedral. Mallinger also took the role of Elsa in the work's premiere at the Berlin State Opera on 6 April 1869. Ortrud, Telramund's wife, does not join the prayer, but privately expresses confidence that Telramund will win. [12], Between May and June 1846, Wagner made a through-composed draft for the whole work that consisted of only two staves: one for the voice, the other just indicating the harmonies. A dove descends from heaven and, taking the place of the swan at the head of the boat, leads Lohengrin to the castle of the Holy Grail. [31] Conducted by Adolf Neuendorff, the cast included Theodor Habelmann as Lohengrin, Luise Garay-Lichtmay as Elsa, Marie Frederici as Ortrud, Adolf Franosch as Heinrich and Edward Vierling as Telramund. It was King Ludwig's patronage that later gave Wagner the means and opportunity to complete, build a theatre for, and stage his epic cycle Der Ring des Nibelungen. Jonas Kaufmann, He demands that the Knight must reveal his name; otherwise the King should rule the trial by combat invalid. [30], Lohengrin was first publicly performed in France at the Eden-Théâtre in Paris on 30 April 1887 in a French translation by Charles-Louis-Étienne Nuitter. This went on for several days, until the entire dramatic plan for Lohengrin had been set down in full detail.[11]. The Herald announces that Telramund is now banished, and that anyone who follows Telramund shall be considered an outlaw by the law of the land. She asks him to tell her his name when no one else is around, but at all instances he refuses. ... the more familiar I have become with my new subject & the more profoundly I have grasped its central idea, the more it has dawned upon me how rich & luxurious the seed of this new idea is, a seed which has grown into so full & burgeoning a flower that I feel happy indeed. The Duke's guardian, Count Friedrich von Telramund, has accused the Duke's older sister, Elsa, of murdering her brother in order to become Duchess of Brabant. The complete draft of act 3 was completed before the second-draft of acts 1 and 2. Elsa falls back into the crowd where Ortrud and Telramund try to intimidate her, but the Knight forces them both to leave the ceremony, and consoles Elsa. The opera's genesis, however, starts some years earlier when Wagner was living and working in Paris. Jahrhundert. [20], Composition of the full score begun three months later on 1st January 1848 and by 28th April 1848 the composition of Lohengrin was complete. As Elsa descends to open the castle door, Ortrud prays to her pagan gods, Wodan and Freia, for malice, guile, and cunning, in order to deceive Elsa and restore pagan rule to the region. He will seal his own doom when the gleam of his godly form destroys his lover. If she violates this requirement, he will be forced to leave her. The book in question was Ludwig Bechstein's 1835 anthology of legends Der Sagenschatz und die Sagenkreise des Thüringerlandes. Wagner attempted at the same time to weave elements of Greek tragedy into the plot. Conducted by Charles Lamoureux, the performance starred Ernest van Dyck as the title hero, Fidès Devriès as Elsa, Marthe Duvivier as Ortrud, Emil Blauwaert as Telramund, and Félix-Adolphe Couturier as Heinrich. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel Lohengrin, itself inspired by the epic of Garin le Loherain. This interpretation reveals Elsa as a rational individual, upgrades the dramatic significance of the act 1 combat scene, and, more broadly, signals a return to a hermeneutics of Wagnerian drama. Writing retrospectively in his extremely readable 1865 biography (even if its royal patronage diminishes its reliability), Wagner tells the story of how Lohengrin's libretto was written. Ortrud warns Elsa that since she knows nothing about her rescuer, he could leave at any time as suddenly as he came, but Elsa is sure of the Knight's virtues. The most popular and recognizable part of the opera is the Bridal Chorus, colloquially known as "Here Comes the Bride," usually played as a processional at weddings. Telramund secretly draws the four noblemen aside and assures them that he will regain his position and stop the Knight, by accusing him of sorcery. Ah! diess muss die Strafe, diess die Sühne sein! Was hast du mir angethan? Lohengrin prays and the swan turns back into young Gottfried. this the atonement, this the Grail's command![19]. Finally, despite his warnings, she asks the Knight the fatal questions. Stewart Spencer neither regards the abandonment of the Hohenstaufen projects during the 1840s at this time nor, more specifically, in the musical and formal dissimilarities between Rienzi and Der Fliegende Holländer as symptomatic of a fundamental turn from history towards myth. 08.11.2020. Richard Wagner: Complete Opera Collection - Die kompletten Opern - Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf, Wolfgang Windgassen, Kirsten Flagstad, Richard Wagner, Herbert von Karajan, Wilhelm Furtwängler, Hans Knappertsbusch, Philharmonia Orchestra, Chor & Orchester der Bayreuther Festspie: Amazon.de: Musik Elsa does not answer the King's inquiries, only lamenting her brother's fate ("Einsam in trüben Tagen"). The literary figure of Lohengrin first appeared as a supporting character in the final chapter of the medieval epic poem Parzival of Wolfram von Eschenbach. Elsa and her new husband are ushered in with the well-known bridal chorus, and they express their love for each other. Richard Wagner. [2], Lohengrin was written and composed between 1845 and 1848 when Wagner worked as Kapellmeister at the Royal Dresden court. Seine Neuerungen in der Harmonik beeinflussten die Entwicklung der Musik bis in die Moderne. Übersicht über die Hauptwerke von Richard Wagner, welche regelmäßig bei den Bayreuther Festspielen aufgeführt werden. Numerous changes to the poem, particularly act 3, took place during work on the second-draft. Thus, Wagner admits, with one blow a whole new world was opened to him,[6] and although unable to find the form to master the material for his own dramatic purpose, he could clearly visualize Lohengrin and it remained as an inextinguishable image within him.[7]. – Johanna]'s role in it (Albert's daughter – see illustration below) – which is very important & in point of fact the principal role in the work – is bound to turn out the most charming & most moving in the world. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel Lohengrin, itself inspired by the epic of Garin le Loherain. Mit seiner Schrift Das Judenthum in der Musik gehört er geistesgeschichtlich zu den obsessiven Verfechtern des Antisemitismus. ach, mich wie dich trifft ihre herbe Pein! ("When does the next swan leave?"). On 30 May 1846 Wagner wrote to the journalist Hermann Franck [de] regarding the relationship between Lohengrin and Elsa. Libretto: Richard Wagner. He wrote the following in Mitteilungen an meine Freunde about his Lohengrin plans: Who doesn't know "Zeus and Semele"? Auguste Vianesi conducted the performance, which featured Ernesto Nicolini as Lohengrin, Emma Albani as Elsa, Anna D'Angeri as Ortruda, Maurel as Friedrich, and Wladyslaw Seideman as Heinrich. Walter Slezak, "Wann geht der nächste Schwann" dtv 1985. As Elsa and her attendants are about to enter the church, Ortrud rushes to the front of the procession and challenges Elsa to explain who the Knight is and why anyone should follow him. Effective, attractive, impressive & affecting in all its parts! The sun rises and the people assemble. The Grail Knight Lohengrin, son of the Grail King Parzival, is sent to the duchess of Brabant to defend her. The orchestral preludes to Acts I and III are also frequently performed separately as concert pieces. The Palais Garnier staged the work for the first time the following 16 September with van Dyck as Lohengrin, Rose Caron as Elsa, Caroline Fiérens-Peters as Ortrud, Maurice Renaud as Telramund and Charles Douaillier as Heinrich. Hugh Vickers, Great Operatic Disasters, St. Martin's Griffin, New York, 1979, p. 50. Elsa asks the forbidden question because she needs to confirm Lohengrin's belief in her innocence, a belief that Ortrud successfully erodes in act 2. Scene 2: On the banks of the Scheldt (as in act 1). [29] The work was produced in Munich for the first time at the National Theatre on 16 June 1867, with Heinrich Vogl in the title role and Mathilde Mallinger as Elsa. [30], The United Kingdom premiere of Lohengrin took place at the Royal Opera House, Covent Garden, on 8 May 1875 using the Italian translation by Marchesi. "Das Rheingold" eröffnete Richard Wagner mit einem langen tiefen Ton von acht Kontrabässen. The troops arrive equipped for war. It received 6 performances in its first season in the opera house that Wagner built for the presentation of his works. Campanini portrayed the title role with Christina Nilsson as Elsa, Emmy Fursch-Madi as Ortrud, Giuseppe Kaschmann as Telramund, Franco Novara as Heinrich, and Auguste Vianesi conducting. Wagner himself was unable to attend the first performance, having been exiled because of his part in the 1849 May Uprising in Dresden. The combat commences. The King declares that he cannot resolve the matter and will leave it to God's judgment through ordeal by combat. Lösungen für „Oper von Richard Wagner” 21 Kreuzworträtsel-Lösungen im Überblick Anzahl der Buchstaben Sortierung nach Länge Jetzt Kreuzworträtsel lösen! He was the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine (née Paetz), the daughter of a baker. [26] Despite the inadequacies of the lead tenor Karl Beck,[27] it was an immediate popular success. As it turned out Rienzi in Berlin was not a success and Lohengrin was not performed there until 1859. Their conversation is interrupted by the entrance of the King with the Knight. This has sometime led to the erroneous conclusion that the entire work was completed from the end to the front. In 1936, at the Metropolitan Opera, the same thing happened to Danish tenor Lauritz Melchior[40], This article is about the opera by Richard Wagner. He was baptized at St. Thomas Church. The crowd exits, cheering and celebrating. The Metropolitan Opera mounted the opera for the first time on 7 November 1883, in Italian, during the company's inaugural season. [10] It would be nearly four years before Wagner's image of Lohengrin would again manifest itself to his creative imagination. Wagner, with his head in a whirl, wrote to his brother, Albert, the following day, 4 August 1845: ...it was in this frame of mind yesterday that I finished writing out a very full & detailed scenario for Lohengrin; I am delighted with the result, indeed I freely admit that it fills me with a feeling of proud contentment. The Knight defeats and kills Telramund. His protection comes under the condition that she must never ask his name. Twice the Herald calls for a champion to step forward, but gets no response. By 3 August 1845 he had worked out the prose draft. For the opera by Salvatore Sciarrino, see, Mein lieber Schwan... O Elsa! Zeus knows that she would be destroyed by the sight of his real self. When the King asks Elsa who shall be her champion, Elsa describes a knight she has beheld in her dreams ("Des Ritters will ich wahren"). Then, he sorrowfully turns to Elsa and asks her to follow him to the King, to whom he will now reveal his secrets. He tells the King that Elsa has broken her promise, and discloses his identity ("In fernem Land") by recounting the story of the Holy Grail and of Monsalvat. [16] Readers of the libretto in English will note that in Amanda Holden's 1990 singing translation for the English National Opera, the Grail's advice is transformed into an explicit commandment, with Holden acknowledging, on her website, that translating a libretto is effectively writing a new one "despite its compulsory faithfulness to the original". The unknown Knight defeats Telramund but spares his life ("Durch Gottes Sieg ist jetzt dein Leben mein").

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